A Companion to Experimental Cinema by Federico Windhausen

Author:Federico Windhausen [Windhausen, Federico]
Language: eng
Format: epub
ISBN: 9781119107927
Published: 2022-08-18T00:00:00+00:00

Notes

1 Motivations to use animation as a medium will vary between artists. Some begin as canvas painters and want to extend their craft to animation, bringing movement a particular feeling of life to their imagery. Motion also becomes a highly controllable, aesthetic concern. The same goes for color and form. It is also possible to create an entire, self‐contained environment without real‐life actors or locations which aren't limited to physical laws. If it can be thought, it can be animated—thus animation offers a unique medium to articulate non‐rational modes of thinking. Conversely, one may also “coax life” out of physical inanimate objects through stop motion animation. As for the role of the spectator, Russett and Starr suggest that in order to fully experience the viewer must be active instead of passive, and they “must be prepared to constantly develop new standards of judgment and perhaps finally even new esthetic attitudes.” (1988, p. 11).

2 The Iota Center and the Center for Visual Music are the two principal organizations that specialize in preserving, promoting and distributing experimental animations. Since the mid‐2000s, experimental animation has thrived thanks to online platforms like YouTube, Vimeo and UbuWeb, where search terms and tags enable artists from around the world to categorize their work for themselves. Websites like Edge of Frame and the NFB make experimental animation easy to discover and explore. Significant curated screenings and festivals include the Eyeworks Festival in Chicago and Los Angeles, Giant Incandescent Radiating Animation Festival (GIRAF) in Calgary, Punto y Raya Festival in Madrid and Barcelona, Georama festival in Tokyo and the Wrocław Media Art Biennale in Poland, among others.

3 See online: https://www.great‐inspirational‐quotes.com/ugly‐the‐cat.html

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